Movie Aquisitions in 2011 - Hindi Cinema
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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances Du Marché Mondial Du fi Lm
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances du marché mondial du fi lm FOCUS-COVER-FINAL.indd 1 13/04/11 19:30 focus 2011 World Film Market Trends Tendances du marché mondial du film focus_2011.indd 1 26/04/11 19:11 Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. focus_2011.indd 2 26/04/11 19:11 Editorial We now find ourselves in an era where all chan- À l’heure où toute la filière cinématographique nels of cinematography are undergoing a transfor- poursuit sa mutation, où la VoD se positionne mation: VoD has become a realistic medium, the comme un écran crédible, où le passage au tout switch to all-digital is simply a matter of time and numérique n’est plus qu’une question de calen- 3D is becoming more and more ubiquitous. As drier, où la 3D commence à se banaliser, il est such, it is more crucial than ever for us, as profes- plus que jamais nécessaire, pour les profession- sionals, to identify major industry tendencies. nels que nous sommes, d’appréhender les grands I hope that Focus, now in its 14th year, will indicateurs du secteur. serve as an indispensable tool for you in analyzing Je souhaite que Focus, qui fête son 14e anni- and anticipating the challenges of tomorrow. versaire, vous apporte les clefs indispensables pour analyser et anticiper les enjeux de demain. -
My God, That's My Tune'
The composer recently made it on the New York hit parade with a song titled In every city. In an interview R. D. Burman talks about his craft. Left: R. D. Burman with Latin American composer Jose Flores. Below: The 'Pantera' team, among others R.D. Burman (centre), Jose Flores and (far right) Pete Gavankar. HENEVER an Indian achieves a Wmilestone abroad, he instantly gets more recognition in his own coun- try. Perhaps it's the colonial hangover that still makes us believe that they are always right over there. In this case however, the distinction is not going to make any difference as the person gaining it is already a household name here. Rahul Dev Burman, who has given music for 225 Hindi films, has made it to the New York hit parade with a song titled In every city. He is all set to launch the album—'Pantera'—in India. Two people have been responsible for getting him there—his father Sachin Dev Burman who was the only member of the family willing to let him enter films, and Pete Gavankar, a friend of thirty years who goaded him into seek- ing new pastures and has financed the album. Intrigued, we decided to find out just how the international album had come about and while we were at it, also gauge just how much R.D. had already packed into his life of 45 years. It turned out to be much more than we had thought as we had to have several sittings before we were through. But R.D. -
Page-00005.Pdf
Voice Entertainment presents the latest in entertainment news, occasional i lm reviews, interviews with i lm personalities and Friday, January 5, 2018 www.WeeklyVoice.com Section B SRK’s Twitter Following gossip from the Bollywood i lm industry - the second largest Crosses 32 Million i lm industry in the world. One page is also devoted to news MUMBAI: Shah Rukh Khan’s social media on Twitter has ex- tended to 32 million. Shah Rukh on Tuesday tweet- ed: “Naye saal ki sabko shubh from Hollywood. In addition to entertainment news, Voice kamnayein. Sab raho khush aur aabaad aur 32 million ke liye bahut bahut dhanyawaad. Waah Hindi main likha toh kuch kavi sa hogaya. (Good wishes to all for Entertainment also incorporates occasional pages on Health, the New Year. Please stay happy and thank you for the 32 million. Written in Hindi, so became like a poet.)” The 52-year-old superstar, who has a following of 32.2 million, Technology and Travel, a popular Numerology/Astrology page is right behind megastar Amitabh Bachchan, who has a Twitter following of 32.4 million. Shah Rukh is Bollywood’s top Khan with the most number of follow- ers on Twitter -- Salman has 29.9 and a Matrimonials section. million and Aamir has 22.6 mil- lion.Shah Rukh is an avid user of digital platforms uses social media to update fans and follow- ers about his life and projects. On the fi rst day of the New Year on Monday, he unveiled the title and teaser of his upcoming fi lm with Aanand L Rai. -
Fascist Imaginaries and Clandestine Critiques: Young Hindi Film Viewers Respond to Violence, Xenophobia and Love in Cross- Border Romances
CORE Metadata, citation and similar papers at core.ac.uk Provided by LSE Research Online Shakuntala Banaji Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross- border romances Book section Original citation: Banaji, Shakuntala (2007) Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances. In: Bharat, Meenakshi and Kumar, Nirmal, (eds.) Filming the line of control: the Indo–Pak relationship through the cinematic lens. Routledge, Oxford, UK. ISBN 9780415460941 © 2007 Routledge This version available at: http://eprints.lse.ac.uk/27360/ Available in LSE Research Online: May 2011 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances Shakuntala Banaji1 Tarang: I’ve watched Hindi films all my life. -
2 Apar Gupta New Style Complete.P65
INDIAN LAWYERS IN POPULAR HINDI CINEMA 1 TAREEK PAR TAREEK: INDIAN LAWYERS IN POPULAR HINDI CINEMA APAR GUPTA* Few would quarrel with the influence and significance of popular culture on society. However culture is vaporous, hard to capture, harder to gauge. Besides pure democracy, the arts remain one of the most effective and accepted forms of societal indicia. A song, dance or a painting may provide tremendous information on the cultural mores and practices of a society. Hence, in an agrarian community, a song may be a mundane hymn recital, the celebration of a harvest or the mourning of lost lives in a drought. Similarly placed as songs and dance, popular movies serve functions beyond mere satisfaction. A movie can reaffirm old truths and crystallize new beliefs. Hence we do not find it awkward when a movie depicts a crooked politician accepting a bribe or a television anchor disdainfully chasing TRP’s. This happens because we already hold politicians in disrepute, and have recently witnessed sensationalistic news stories which belong in a Terry Prachet book rather than on prime time news. With its power and influence Hindi cinema has often dramatized courtrooms, judges and lawyers. This article argues that these dramatic representations define to some extent an Indian lawyer’s perception in society. To identify the characteristics and the cornerstones of the archetype this article examines popular Bollywood movies which have lawyers as its lead protagonists. The article also seeks solutions to the lowering public confidence in the legal profession keeping in mind the problem of free speech and censorship. -
Interim Dividend FY 2016-17 INR 4,27,524.00
Hester Biosciences Limited Unpaid and Unclaimed Amount of Interim Dividend FY 2016-17 INR 4,27,524.00 First Middle Last Father/ Address Country State PIN Folio DP/Client Investment Type Amount Proposed Date of Name Name Name Husb Code Number ID (in INR) Transfer to IEPF Name A K TYAGI BSTYAGI 4 / 403 , EAST END INDIA Delhi 110096 HEST000000 Amount for unclaimed 450.00 25-Dec-2023 APARTMENTS MAYUR 0000000148 and unpaid dividend VIHAR PHASE - I EXTN NEW DELHI A P MAHADHEV APONNUSA C PERIASAMY ILLAM INDIA Tamil 637001 HEST000000 Amount for unclaimed 450.00 25-Dec-2023 AYADHAV MY SOUTH 34-C-19 TIRU Nadu 0000000152 and unpaid dividend NAGAR MOHANUR ROAD NAMAKKAL AARTI RAKESH SOLANKI NA A 1 CHIMAJI NAGAR INDIA Maharas 401107 16014301- Amount for unclaimed 15.00 25-Dec-2023 CHAWL PENKARPADA htra 02986045 and unpaid dividend NEAR SANKET STD MIRA ROAD EAST THANE ABDULKA JUSABBHAI KHATRI JUSABBHA LAHERI PURA BARODA INDIA Gujarat 390001 HEST000000 Amount for unclaimed 450.00 25-Dec-2023 DAR I GUJ NEAR GATE 0000000177 and unpaid dividend KHANADIWAD NAK BARODA ABHAY N JAIN NANDALAL 2ND KUBHARWADA LANE INDIA Maharas 400004 HEST000000 Amount for unclaimed 450.00 25-Dec-2023 JAIN 228/19 PANWALA BLDG. htra 0000010952 and unpaid dividend 2ND FLOOR BOMBAY ABHAYKU DAYA 247/30 RAJA BAZAR PARK INDIA Uttar 226003 HEST000000 Amount for unclaimed 450.00 25-Dec-2023 MAR LUCKNOW Pradesh 0000000189 and unpaid dividend ABHIJEET L DESHMUKH LAXMIKAN C/O LD DESHMUKH INDIA Maharas 431601 HEST000000 Amount for unclaimed 450.00 25-Dec-2023 T PUNDLIK WADI htra 0000000190 -
Contenido Estrenos Mexicanos
Contenido estrenos mexicanos ............................................................................120 programas especiales mexicanos .................................. 122 Foro de los Pueblos Indígenas 2019 .......................................... 122 Programa Exilio Español ....................................................................... 123 introducción ...........................................................................................................4 Programa Luis Buñuel ............................................................................. 128 Presentación ............................................................................................................... 5 El Día Después ................................................................................................ 132 ¡Bienvenidos a Morelia! ................................................................................... 7 Feratum Film Festival .............................................................................. 134 Mensaje de la Secretaría de Cultura ....................................................8 ......... 10 Mensaje del Instituto Mexicano de Cinematografía funciones especiales mexicanas .......................................137 17° Festival Internacional de Cine de Morelia ............................11 programas especiales internacionales................148 ...........................................................................................................................12 jurados Programa Agnès Varda ...........................................................................148 -
Anjaana Anjaani Movie Full Download for Free
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